In sf critic Rob Latham's article "Fanzine Research", in the April 2008 issue of [[el]],, he wrote of ''Starling'', [[Susan Wood]]'s [[Aspidistra]], and [[ODD]], by Raymond and Joyce Fisher with Richard Elsberry, that they were, "vehicles of antiestablishment attitudes virtually indistinguishable at times from the contemporary underground press.” He cites these fanzines as examples of sf fans seeking "...to bring sf into dialogue with a larger universe of discourse and action—rather than, as elitist snobs sometimes suggest, looking to “escape” from the real world into aimless fantasy."

In sf critic Rob Latham's article "Fanzine Research", in the April 2008 issue of [[el]],, he wrote of ''Starling'', [[Susan Wood]]'s [[Aspidistra]], and [[ODD]], by Raymond and Joyce Fisher with Richard Elsberry, that they were, "vehicles of antiestablishment attitudes virtually indistinguishable at times from the contemporary underground press.” He cites these fanzines as examples of sf fans seeking "...to bring sf into dialogue with a larger universe of discourse and action—rather than, as elitist snobs sometimes suggest, looking to “escape” from the real world into aimless fantasy."

Revision as of 14:54, 25 September 2011

Starling was first published in the 1960s in Missouri, U.S.A. The first two issues were published by Hank Luttrell with Tim Elkand. Luttrell edited a few issues by himself, and was then joined by Lesleigh Couch, who shortly after became Lesleigh Luttrell. The two moved to Madison, Wisconsin, U.S.A. where they continued publishing. Early issues of Starling were distributed through the Southern Fandom Press Alliance APA. It was published for more than a decade, with issue 3 appeared in 1964 and issue 37 in 1979. In 1975, Starling was nominated for a Hugo Award for Best Fanzine.

In sf critic Rob Latham's article "Fanzine Research", in the April 2008 issue of el,, he wrote of Starling, Susan Wood's Aspidistra, and ODD, by Raymond and Joyce Fisher with Richard Elsberry, that they were, "vehicles of antiestablishment attitudes virtually indistinguishable at times from the contemporary underground press.” He cites these fanzines as examples of sf fans seeking "...to bring sf into dialogue with a larger universe of discourse and action—rather than, as elitist snobs sometimes suggest, looking to “escape” from the real world into aimless fantasy."